【摘要】：鄒一桂是清代的詞臣畫家,通過自身的努力不僅得到了乾隆皇帝的賞識(shí),還在畫史上為自己爭(zhēng)取了一席之地,享有“南田之后”的美譽(yù)。論文來源于筆者對(duì)沒骨花鳥畫的學(xué)習(xí)興趣,但繪畫史上對(duì)鄒一桂的介紹并不多,相關(guān)的文獻(xiàn)資料也大多是鄒一桂在京為官的情況。鄒一桂不僅創(chuàng)作了大量的繪畫作品,在繪畫理論上也有突出的貢獻(xiàn)。在宮廷生活的鄒一桂在實(shí)踐中不斷改進(jìn),最終形成了以沒骨為主的描繪方式,設(shè)色淡雅清麗,寫生與創(chuàng)作相結(jié)合的繪畫面貌。鄒一桂的花鳥畫作品典雅明凈且具有自然趣味。該篇論文以鄒一桂的花鳥畫藝術(shù)為主線,運(yùn)用文獻(xiàn)分析法、歸納法,通過分析鄒一桂現(xiàn)存的繪畫作品對(duì)鄒一桂花鳥畫繪畫風(fēng)格的形成以及繪畫特點(diǎn)進(jìn)行論述。一共分為四個(gè)部分,第一部分為鄒一鄒一桂的藝術(shù)發(fā)展歷程;第二部分為鄒一桂花鳥畫風(fēng)格的形成;第三部分為鄒一桂花鳥畫的特點(diǎn);第四部分為鄒一桂在藝術(shù)上的成就與地位。通過對(duì)鄒一桂藝術(shù)發(fā)展歷程以及對(duì)作品的深入了解與分析,使我們形成一個(gè)對(duì)鄒一桂較為完整的認(rèn)識(shí)。鄒一桂不僅將寫生的觀點(diǎn)和重視造型的理念進(jìn)行了發(fā)揚(yáng)成為了花鳥畫家中的寫生高手,還對(duì)清代宮廷花鳥繪畫的風(fēng)格以及后人在進(jìn)行花鳥畫的學(xué)習(xí)與創(chuàng)作中都產(chǎn)生了一定的影響。
[Abstract]:Zou Yigui was a ci minister painter in Qing Dynasty. Through his own efforts, he not only gained the appreciation of Emperor Qianlong, but also won a place for himself in the history of painting and enjoyed the reputation of "after Nantian". The thesis comes from the author's interest in the study of boneless flower and bird painting, but there are few introductions to Zou Yigui in the history of painting, and most of the relevant literature materials are also the case of Zou Yigui as an official in Beijing. Zou Yigui not only created a large number of paintings, but also made outstanding contributions in painting theory. Zou Yigui, who lived in court, improved constantly in practice, and finally formed a painting style with no bone, light and elegant color, and combination of sketch and creation. Zou Yigui's flower-and-bird paintings are elegant and clean and have natural interest. This thesis takes Zou Yigui's flower-and-bird painting art as the main line, uses the literature analysis method, induces the method, through the analysis Zou Yigui's extant painting works to Zou Yigui's flower-and-bird painting style formation and the painting characteristic carries on the elaboration. It is divided into four parts, the first part is Zou Yigui's art development course, the second part is the formation of Zou Yigui flower and bird painting style, the third part is the characteristics of Zou Yigui flower and bird painting; The fourth part is Zou Yigui's achievement and position in art. Through the deep understanding and analysis of Zou Yigui's art development course and works, we can form a more complete understanding of Zou Yigui. Zou Yigui not only carried forward the concept of sketching and the idea of attaching importance to modeling, but also became a master of painting among flower and bird painters. It also has a certain influence on the style of flower and bird painting in the court of Qing Dynasty and later generations in the study and creation of flower and bird painting.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前8條

1 周積寅;;中國(guó)畫學(xué)史上的無錫六大家[J];藝術(shù)百家;2011年05期

2 羅漢松;;菊石誠有意,仕隱豈無心——鄒一桂《菊石圖》小說[J];藝術(shù)市場(chǎng);2009年05期

3 韓璐;;畫論品讀——《小山畫譜》的八法四知說[J];新美術(shù);2009年02期

4 李晨輝;;《小山畫譜》的兩個(gè)問題[J];美術(shù)界;2008年11期

5 鄒小宇;;萬物為師 生機(jī)為運(yùn)——淺析《小山畫譜》中的繪畫思想[J];藝術(shù)探索;2006年01期

6 朱敏;清艷之筆競(jìng)美藝林——鄒一桂的花卉畫創(chuàng)作及藝術(shù)思想[J];中國(guó)歷史博物館館刊;2000年02期

7 孫怡姝;清代的宮廷藝術(shù)──院畫[J];滿族研究;1994年01期

8 聶崇正;清代宮廷繪畫機(jī)構(gòu)、制度及畫家[J];美術(shù)研究;1984年03期

相關(guān)碩士學(xué)位論文 前1條

1 陳暉;初探鄒一桂繪畫風(fēng)格成因[D];陜西師范大學(xué);2014年

，

本文編號(hào)：2142604